本研究目的是探討創作實務與研究間的動態關係。在概念分析方法下，指向近年來創作、研究與實務概念間的關係及其相應行動的爭論。結果發現：(1)概念間差異源於理論在創作實踐中主客體的角色；(2)但在目的上共享精神性發展的智識；(3)創作作品，在合適方法及適時反思下，能整合創作實踐的研究過程，可視為創造性的學習途徑。 本研究之結論，將創作品視為學習通用形式，創作實踐則從單一作品中轉化各種經驗與知識，幫助學習者發展出一種「新認識論」的智識空間。因此，本研究提出創作實務與研究，可視為表現性的學習策略，用於議題取向之內容脈絡的思考與行動，學習者在智識空間內產生豐富具生產性的移動。此外，創作論述給予非語言（視覺、聽覺等）與語言相同的重視，可用於整合學習者的創作實務與研究過程的經驗。整體來說，對教育場域而言，有助於發展樂於創造的學習氛圍，以及個人與社群間的創造性文化。

This paper examines the dynamic interplay between creative practice and research in creative education. Building on recent debate around these concepts and following appropriate actions, I underline the importance of locating a suitable methodology to adequately reflect the integrated research process of creative practice in creation as well as a creative learning approach. The study has results, including: (1) the difference, in those conceptions, arguing the role of subject/ object of theory in the creative practice. (2) But sharing similar purpose on intelligence of spiritual development. (3) It is importance of locating a suitable methodology to adequately reflect the integrated research process of creative practice in creation as well as creative learning approach is underlined. The study concluded that, creation, as a versatile form that accommodates multiple experience and knowledge in a single art work, has been proposed as for a “new epistemology”. I propose that the adoption of a performative learning strategy that reflects both the content and context of creative thinking and action can be a productive move, and I put forward alternative routes and references that might practically assist the achievement of just such an aim. Creative discourse integrates learner studio practice into the research process, giving equal weight to the non-verbal (visual, audio) and the linguistic. Creative practice research can make a happy atmosphere for the enhancement of personal and communal creativity, and an exploration of why this is important for the individual and society.